Almost 47 years ago, Susan Sontag wrote “Notes On ‘Camp'” which coined the idea of something being “so bad it’s good.” When referring to popular culture, the phrase could apply to concepts like “slasher” films and David Hasselhoff’s acting career. The work still holds resonance, even as it nears half a century in age and it’s as if Sontag charted the path to Nicki Minaj’s success and her sophomore LP, Pink Friday: Roman Reloaded.

Sontag describes “Camp” as the love of the exaggerated and tends to be expressed in a hyper-stylized fashion. If you take Sontag’s definition to heart, you’ll see how she seems to be describing Nicki Minaj’s career. Just look at the Young Money femme’s propensity for clichéd religious imagery and zany red carpet ensembles—even if it means going full “Gaga” and distancing herself from the pure lyricism she displayed on “Monster.” She’s become the act and the art, which has alienated rap fans but pleased (or outraged) everyone else.

Nicki utilizes Roman Reloaded to channel this persona through music, as its first half is accentuated by screeching choruses (like on “Come On A Cone”) and butchered church hymns (like on “Roman Reloaded”). Sure, it’s polarizing stuff that’s hyperbolic and theatrical in nature, but her attempts are so head-scratchingly odd that it muddles whatever pluses her production partners such as Hit-Boy and Kenoe conjure. And when she’s not trying to burst stereo decibel levels, she flails at her rhymes—the one thing that made her successful in the first place—by lethargically bumbling lines like, “I’m chillin’ at the top I got ample time/Bite me, Apple sign,” as heard on the album’s title track.

It’s a Pope-sized blessing, then, that Nicki saves the “rap” portion of Roman Reloaded for her guest stars, garnering key appearances from Rick Ross, Cam’Ron and even a hungry Nas, who ripped through his verse “Champion.” It’s a schizophrenic first half that builds Nicki into a full-on caricature, leaving rap fans to wonder what happened to the promising, cold-blooded MC of the Gucci Mane cut, “Slumber Party.”

Yet, this is the target audience Nicki left behind after her debut, Pink Friday, became the staple soundtrack for sorority girls and soccer mom Ellen viewers. Roman Reloaded’s second half guarantees that it becomes a mainstream smash, as Nicki sees herself not only as an act but also a brand – as she openly admits with the line, “I’m a brand, bitch, I’m a brand.” There’s a plethora of radio-ready tunes, from the bubble gum cut “Right By My Side” to the club-ready “Starships,” which will inevitably be used to hock everything from Tampax tampons to Jersey Shore marathons. The last half is so artificial and ultra-contrived that it almost appears to be an ironic troll on rap fans; however, it’s doubtful that Nicki meant to imbue that much meaning into such listless songs. The fact is, about halfway through the album, she decided to dump the rap schtick and sing her way to the bank. And that’s exactly what she’ll do. Say what you want about how much you’d like to listen to it, but there’s a certain skill that comes with making these mega hits. And Nicki knocks these formulaic tracks out of the park.

Sontag also made one other distinct point: “One must distinguish between naïve and deliberate Camp. Pure Camp is always naïve. Camp which knows itself to be Camp (‘camping’) is usually less satisfying.” Indeed. By focusing on both celebrity and mainstream plays, Nicki sacrifices the music itself. That might be a naïve observation, but then again, that was probably her primary objective all along—building the Nicki Minaj corporation. In doing so she didn’t create something Camp or something “so bad that it’s good.” She just created something that’s – from a rap album perspective – just bad.

Having listened to the album with the fairer sex, ladies and even casual hip-hop fans will find this entertaining. Nicki is like Kanye, in the sense that she appeals to a mass audience, pop friendly, attention whore, but doesn’t reach that deep hardcore hip-hop fan base. Ye had that same problem, but just kept on doing what he does. I don’t see Nicki quitting no time soon either.

I had a horrible dream last night. I was being tied down by a bunch of Barbies and forced to listen to this album until my face melted off. It was like something out of Nightmare on Elm Street….and guess who was playing Freddy?

Underground Star > Hip Hop Star > Rap Star > Pop Star
Now the writer of this article gave a lot of good perspectives. Most of it how ever is the same ole stuff that every artist who was once underground (streets & urban area), next becomes a known hip hop star (BET), next Rap Star ( MTV, VH1, USA Known), last Pop Star (Good Morning America Performance, Commercials, Internationally Know). I was Nicki Fan when she spitting “about two sticks in a bun” and I am still one with her making song like “star ships”. Artist are suppose grow and go in other directions.

Some would probably stay in the same style if the business part of music was not so profitable. I think with Nicki she able to give us every part of her now that she has “super-backing”. The song lyrics will always change when your life and atmosphere does. When we see an artist go in a different direction do we throw away their old stuff that we “brought, burned, or borrowed form someone.”

I love the read the good and bad. The writer did one more thing that I thought was interesting and smart, putting “Beautiful Sinner” on the Article title. That was not a good song on the album. Definitely Nicki is in the “HOV Lane”

Nicki Minaj is hiphop, tho. Or at least a segment of hiphop. She caters to a demo that wants certain things from hiphop and, like it or not (i don’t), Roman delivers that. Now you can argue about the quality of the end product, i.e. this album its self, but the basic idea of what Nicki is and whether or not it’s valid was settled long before she showed up:

Hiphop is whatever whoever wants it to be.

Much as it pisses me off to say this, the average black person who grew up on hiphop, helped shape it, etc. has about as much authority or validity beyond their own iPod as, well… a dog.

Every female rapper that we—make that “I” think is dope—is dying on the vine. Eternia is on sabbatical. Jean Grae rants on twitter between sporadic 16s… Butta P (Rhema Soul) and Suzy Rock(High Society) no one outside of CHH knows, Rah Digga is arguing with pill-popping 17yros, Rocky Riveria has no real audience outside of the Bay…

I could name a few more, but you get my point.

Nicki or Roman and whatever you wanna label what she’s pushing pretty much all that hiphop’s open to as far as female artists. Her and Iggy Azaela or whatever her name is…

I cannot believe Grae isn’t gettin more mainstream love. She spits nasty bars, but she’s also just hilarious – like as a person. Kinda had a crush on her since she was on that Hype Men podcast. I feel like she would be a natural fit for GOOD music, and it’s not like hangin with Talib and Blacksmith is really helping.
Can’t wait for Cake or Death.

maybe i’m missing something but why would one expect more from her????? ya’ll caught in the rapture if you think just because she had a couple of good verses on other peoples albums that she is the next female hip-hop coming.